Alteritas

Page 1

Oscar Bianchi ALTERITAS for bass clarinet



Oscar Bianchi

ALTERITAS for Bb bass clarinet

commissioned by Sampler Sèries L’Auditori de Barcelona


First performance: 03 June 2016 L’Auditori de Barcelona

Victor de la Rosa

Duration: circa 15 minutes

© 2016 Oscar Bianchi, Paris FRANCE Tous droits réservés pour tous pays All rights reserved version of 02 Mai 2016 O & B 44


Composer’s note

• Accidentals are always valid until the end of the measure and exclusively for the specific pitch (not on other octaves). • Altered pitches might be respelled within the measure for cautionary purposes. • Trills: unless differently specified the auxiliary note is always a step above the main note, see example below.

Trill

 

Realization

  

  



  



  





LEGEND (please consult enclosed audio legend) • • • • • • • • • • • • • • • • • • • •

vocal fry into the instrument (m 2, 4, etc.) singing into the instrument (m 11) vocal fry into the instrument with change of fingering (m 7, etc.) speaking text inside the instrument (m. 28, etc.) + but add intense inhaling and exhaling as requested in the score non distorted mongolian (m48) toneless vowels into the instrument (m. 35, etc.) mongolian vowels into the instrument (m. 45, etc.) non distorted mongolian (m 48) throat flz non distorted mongolian (m 55-59) throat flz non distorted mongolian 2 (m 60-61) throat flz non distorted mongolian 3 (m 62-63) throat flz & bisb open close (m 69, etc.) gradual undertones (m 65, etc) loud syllable whispering (m 67, etc) harmonics (m 70) harmonics (m 72) loud syllable whispering (m 75/77) harmonics (m 79&80) multi-phonic trills (88, etc) exhale sounds, inhale sounds m163 until 190



to Victor de la Rosa

Bb Bass Clarinet

ALTERITAS Oscar Bianchi (2016)

-Iq = 40 no mouthpiece

voice: sounding, ca: ngering:

vocal fry ngering change 6

vocal fry

2 #~ & ∑ 4 b %) >o

5 ∑ 4% 8 4 )

O®‰ Ù O™ ÙÓ 5 5 ∑ 4‰O 8 4 ®‰ Ù 6 # 6 6 6 # 6 6Ù 8 b6 n6 6#6 6

b% +)

''pp''

«vocal fry»: produce a rattling croaking sound with the voice (pitch ad libitum) and nger the indicated pitches

6

vocal fry: change ngering only, voice keep rattling on a "constant" pitch

8

O ~ 5 4 Œ‰ n 6 # 6 & 8 #66#6 4 6 #6n66b66# 6 n 6 6b6n6 6b6 5

n6#6n6n6b 6 6 6n6 6#6 6

n6n6 83∑43 n 6 # 6 n 6 # 6 n 6 6 6n6 6n6 6#6 6 5

5 6

5 6

sing into instrument

internal z

vocal fry ngering change

sing into the instrument (real note F4 to F3, also 8vb or 5vb)

11

O™™ r ≈ ææ 4 3 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ O œ® ™ 4 æ æ æ æ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ™ f f ™ 5 3 5 mf

ff

O™ Ù Ù‰ 15 Œ Ù# 6 6# 6 6 6# 6Ù‰ 32 p

6 pp pp

mf

all closed, blowing, all the mouth into the tube

poco più mosso q = 54 Tempo I q = 40

whispering

13

marcato ✶✶

✶✶ Follow the rhythmical pattern whispering the syllables very fast through the mouthpiece

vocal fry

3:2 3:2 ≤ ≥ ≤ 5 15 & 32 ¿ ¿ n¿ ¿ ¿ 8‰ > b¿ ¿ > > b¿ ¿ ¿ ff ¿ > ti ta ka tu hi he ta ka ta hi

O e6

O e6

''pp''

3 ∑ 8 ≥ = inhale ≤ = ord, exhale

3 4

vocal fry ngering change

ææ (almost like a monteverdi tremolo) ææ O O O O O 3 4 & 4 6 #6 n6 6 b6 6 # 6 n 6 6 4 6 b 6 6 6 b 6 6 # 6 n 6 n 6 b 6 6 n 6 6 # 6 6 6 n 6 6 n 6 6 # 6 6 6 n6 6 5

16

6

5

" mp " 6

© 2016 Editions DURAND Paris, France

Tous droits réservés pour tous pays

O & B xxx


A più mosso

2

q = 66 articulate vocal fry

air vocal fry ngering change

air

articulate vocal fry according to written durations

-. -. -. -. -. -. -. -. -. -. -. -. O O O O OOOOOOOO 2 4 6 6 6 6 66666666

z

17

O ≤ 4 n 6 n 6 ‰ ≈ n 6 # 6 & 4 #6 j f 5

≥ ææ ‰ f ™

j O ~~~~ Ÿ 6 #6n6 6b6 4 ‰ j ææ ‰ 4 f f " mp " 5

-. -. -. -. -. O O ™ OO O ≥ r 6 6™ 66 6 f

3 3 p

mf

ff

" mp " ppp

all closed, blowing, all the mouth in the tube

all closed, blowing, all the mouth in the tube

O O O 4 & 4 6 #6n6 6b6 6 6 b6 6#6n6n6b6 6n 6 n6#6n6

Oj

21

6

#6n6n6b6 6

#6n6#6

-. -. -. ‰ 3 ‰ nO O ≈ O 4 8 4 ‰ n6 6 6 6 6n6 6#6 6#6 6 3

O

5 6 5

internal z 6

23

Ÿ~~~~~~~~~~~~~~~~~~~~~~ æ 3 3 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ‰ Œ æ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ ææ 6æ# 6æ 6æn 6æn6æ 6 n6 #6 n6 #6 n6 n œ 6# 6 n˙ œ ˙ f 6# 6 6# 6 6 6# 6 f p ±p p p mf 5

5

4 & 4 ææ f

ææ f

p

f

(blow half of the hole) all closed, blowing, all the mouth in the tube

internal z

T.R. 6

separate

26 5

ææ ææ ææ ææ ææ ææ æ æ æ æ æ 5 æ ‰™ ‰ ≈ ‰ # 6 n 6 ≈ & #6 n6 #6 n6 #6æ# 6æn 6æ æ æ ææ ææ ææ ææ æ æ æ æ æ 6# 6n 6# 6n 6# 6n 6æ 6æ æ æ æ bf ™ # 6n 6# 6 n 6 p mf -. ™

3

5

æ æ æ æ f f f f f -. -. -. -. -.

æ æ æ f f f -. -. -.

æ æ f -.

sffz mf

ff

all closed, blowing, all the mouth in the tube

tempo libero

B speak inside while ngering the

in

-

te - res

-

ting

thing,

is

that

5

28

& ŒŒ

Oj O O O O O O O O O 6 #6 n6 n6 b6 6# 6 n 6 6 6 b 6 6 6 b 6 6# 6 n 6 n 6 b 6 6 n 6 6# 6 6 6 n 6 6 n 6 6 # 6 6 6 n6 6 5 6

5

mf 6

speak the text into the instrument while changing the ngering, with much air, inhaling (upward sign) and exhaling (downward sign)

O & B xxx


3

a tempo

tempo libero z inside

speak inside

air I can

do

(move the mouth le and right)w

so..

I

cre

O

O

29

O O O O ‰ æ & #6n6 #6 n6 n6 ‰‰ ≈ j æ g g™ 5 f 3 o mf

‰ ææ f

6#6 6 #6 6 6#6 f

-

ate

-

Oj n6#6n6#6n6 6 n 6 n 6 6 6#6 6#6 6 5

5 p

f

p mf

(all closed) all closed, blowing, all the mouth into the tube

a tempo a tempo

tempo libero T.R. speak inside you can

z inside

3

see

me ≤ ≤ ≤ ≤j ≥ r j O™ O O O O O™ nO 7 8 ‰ O Œ Œ ‰ ≈ n 6 n 6 # 6 16 8 n 6 # 6 ‰ 6 n 6 n 6 6 6 # 6 n-6. ™ -6. -6. n 6 6 #6 6 #6 6 6#6 6#6 6 p

32 3

& Œ ææ ææ nf f

in - te- res.,

ææ f

5 p

f

p mf

5 zffz

poco meno mosso

C e = 120 >

toneless cliks o > > > > > > > oa > > > > > > o

o >>>>>>

> > > > oa > > > > > > o

a o a o a o 1 . . 1 . . . . . . 1 1 . . . . . . . . .6 . . . 1 1 1 . . 35 1 111 11 1 11 11 1 1 1 1 1 1 1 1 1 1 10 1 1 1 1 12 111111 3 11 8 1 &8 8 8 32 6 6 6 66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 666666 . . . . . . . . . . . . (all closed) . . . . . . . .

ppp

Toneless clik: unlike vocal fry, one individual tongue click per note, always inside the instrument.

accel accel (q = 68) a

q = 74

o > > > > > > > a > > > > > > ae

o > a o >>>>a o >>>>>>

38

3 & 32

. . . .1 1 1 1 . . . . . > . 1 . . .. 1 1 1 11 1 1 1 11 1 1 1 1 1 1 1 8 1 1 11 1 ≈1 1 1 1 8 6 6 66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 . . . . >. . . . . . >. . . ....

a o >>>>

i

11 1 >. 1 1 ≈ ‰ 1≈‰ ≈1 1 1 66 6 6 6 66 6 6 . . . . >. . . >. a tempo T.R.

accel in - te- res.,

q = 96 a o >>>>>> a

a o >>>>>>> a >>>>>> o i . . . . . 1111111 . . 1 1 42 1 . 1 1 1111 1 11 1 1 1 1 11 1 1 3 ≈ ≈‰ ≈ & 8 6 666 6666 66666 6666 6 66 6666 66 6 ............ . ..... .

≤ ≤ ≤ O ™O O ∑

7 16 ‰

≈ 88 -p6. ™ -6. -6. 6

O & B xxx zffz


4

e = 90, pesante accel

(e = 118) accel

sbuffando o > > > > > > > oa > > > > > > o

o > a o >>>>a o >>>>>> a > > > > > > > oa > > > > > > o

marcato

-. -. -. -. ` ` ` ` ` ` ` -. -. -. -. -. -. -. -. ` ` ` ` ` ` ` -. -. -. -. 46 ` ` ` ` ` ` ` ` ` ` ` ` ` 9 ` ` ` ` 8 ` &8 8 66 6 66 6 6 6 6 6 6 6 6 6 6 6 66 6 66 6 6 6 6 6 6 6 6 6 6 6 pp -. -. -. -. -. -. -. -. -. -. -. -. -. -. -. -.

-. -. >-. -. -. -. ` ` ` ` ` ` ` #O ` ` ` ` 8 ≈` ` ` ` ` 6 6 6 6 6 6 6 6 6 6 6 -6. -6. -6. -6. -6. 3R 8 -. -. >-. -. -. ff

(all closed) mongolian vowels, as in throat singing: one single individual throat-distorted-sound per note, always inside the instrument.

e = 90 non-distorted mongolian

voice: i 49 (8vb)

a

ɛ

e

3 <#> O O O O™ ~ 8 &8 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3™ 3 3 J resulting 3 3

3

3 3

sounds: constantly sing a long F# while ngering.

D sbuffando o > > > > > > > oa > > > > > > o

> > > > > > > oa > > > > > > o

-. -. -. -. ` ` ` ` ` ` ` -. -. -. -. -. -. -. -. ` ` ` ` ` ` ` -. -. -. -. ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` ` & 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 ff -. -. -. -. -. -. -. -. -. -. -. -. -. -. -. -.

51

e = 90 a tempo accel sbuffando o > a o > > > >a o > > > > >a

throat non-distorted mongolian

voice: a 8vb

` ` ` ` ` ` ` ` ` ` ` ` ` ` ` 4 8 ` & #~ 8O 8 6666666666666666 6 6 6 6 6 6 6 6 6 6 6 6 6 6 -. -. >-. -. -. -. -. >-. -. -. -. -. -. -. -. -. ngering: 6 6 6 6 6 6 J 6 6 6 6 6 6 6 6 6 fff 53

3 3 3 ff 3

3

constantly sing a long F# while ngering (C D or E) in order to obtain approximatly the resluting pitches below

e = 120 56

throat z non-distorted mongolian a 3 3

toneless vowels o > a

3

3

& 7 7 7 7 7 7 7 7 O7 7j 7 7 7 ‰ 7 7 7 7 7 7 7 7 7 7 7 7j 7 7 ‰ 1 1 O b O O O # O O O # O # O n O ™# O O # O n O O # O O # O ™n O # O O O b O O n O ™ O n 6 6 resulting mf mp sounds: .. sing the eaxct indicated pitched, while freely ngering (C D or E) ad libitum. rit. sbuffando throat z non-distorted mongolian

voice mouthpiece in throat z non-distorted mongolian 2

> > >> oa 3

o oa a . . . -. 3-. a .. 1 61 3 3 3 U U 1 11 ‰ 3 1 ` ` ‰ & j 7 7 7 7 7 O7 7 7 7 7 6 6 7 7 7 7 7 7 777 7 7 7 7 7 Ó 7 7 6 6 6 6 6 O b O O # O O ™ O n O # O O ™# O O ™ #O nO #O O nO #O O O O nO #O ™ O O O

mp

f

as in «throat z non-distorted mongolian 2» but with O & B xxx

p


5

- II Circular breathing. Durations are not to be taken stricly. All bars are to be considered as individual object and all extremeley tied oneanother, as if to "zap" between them.

ca. 10'' arioso

meno arioso

66

poco più lento

throat z + bisb

loud whispering

>@ ÍÍÍÍ

✶✶

¯ ï

arioso

o #O

a tempo q = 60

o x2

3:2 ≥ ≤ 3:2 ≥ ≤ 3 2 15 ™ ™ ™4 & ™ œ ¿ ¿ ¿ 32 ¿ ¿ 8 b ¿ b ¿ ff mf ¿ ¿¿¿ ï¯ïï pp p. eq: _ï ✶ undertones: gradually from one sound to two and backwards ti ta ka tu hi he ta ka ta hi ¯ï ≥ = inhale ✶✶ Follow the rhythmical pattern whispering the syllables through ≤ = ord, exhale loudly the mouthpiece (3+3+3+5)

q. = 84

a tempo q = 60

fp

>-. µO

throat z + bisb

ord z

69

≤ 3 2 & 8 æJ 4 œ p ë f

¯ ï @ ÍÍÍÍÍÍÍÍÍ

harmonic, like a small accent ord

x 3 times

≤ ™™14 8

j ✶✶✶ œ œ

#œ ™

≥ ™™ 28

j œ™ ✶✶✶ œ ˙

œ p

mf

ëf

fp

✶✶✶ during circular breathing inhale at these points producing an almost percivable accent

ca. 20''

a tempo q = 60

little presence many beats mostly high pitch many beats of fundamental

ca. 10''

little presence of fundamental

ff

arioso

p

p

ord

µœ

73

meno arioso

o arioso

o #O ✶

2 8

&

2 8 œ p ë

nO

nO o

o a tempo poco più lento loud whispering q = 60

ca. 10''

o #O

z random ngering (always change)

f

œ ï¯ppïï _ï ¯ï o

arioso

76 ord

2 &8 >œf

≥ >™ ≤ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 5 5 ææ J 16 16 ✶✶✶ hi e o e fff

i

3 ti ki ti r f

>¿

arioso meno arioso

12 8

ï¯ïï ppœ sch f _ï ï fff ¯

a tempo, q = 60 “ -j -j O™ 80 µO µO µO # O ™ ≤ ≥ ≤ ≥ 12 15 &8 j 8 j # œ œ œ™ œ œ œ œ œ œ œ œ œ œ™ œ œ œ™ œ E # œ ™ ✶✶ » z 83 Ÿ~~~~~~~~~~~~~~~~~~~~~~ ✶✶✶ 4 3 3 O æ & 4 Bœ ™ 4 8 # O ™ æ œ #œ ™ nœ ™ ™ # œ ppp œ mf ppp œff ppp ppp ff ppp sfz ✶✶✶ + voice ✶✶ overtone

O & B xxx

throat z + bisb

¯ ï n>@ ÍÍÍÍ

O

2 4

4 4 mf

œ œ™

4 4


6

Ϫ Ϫ 4 &4

œ œ J

✶ppp

mf

86

#œ J ppp

f

o »

Ÿœ™~~~~~~~~~~~~~~~~ ✶✶✶ #œ z (steady) 3 ææ 4 #O ™ nœ ™ ppp ff # œ ™

5≈ 8

5 4

Œ

œ ppp

ppp sffz

✶ myltiphonic with two clear pitches (alternatively use voice for upper one)

✶✶✶ + voice

q = 48 multiphonics trills

slighly distorted o 89 # ˙ (regolare) ˙™ 5 5 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 16 ï ïï- ¯ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ _ïï mp ppp ïï pp Eb

q = 60

ca. 10'' arioso

arioso

o #O

» 90

5 & 16 ≈

meno arioso

o ord ✶✶✶ Ÿ~~~~~~~~~~ 9 8 # œ ™ œ #O ™ #œ ™

≈ ‰ ï¯ïï œ _ï pp ¯ï

# œ.

ppp

mf ppp

z

O

5 8

ææ nœ ™

ff ppp

mf

✶✶✶ + voice

#œ ™ 93 5 & 8 Bœ ™

✶✶✶ H

#O #˙

j O œ

ppp

fff

O œ

5 4

O™ œ™

#O

ppp

nœ ppp

ff

ppp

q = 48 slighly distorted

o #˙

˙™ 5 2 &4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 ï ïïï-¯ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ _ï ïï 5 5 3:4 3:4

96

Eb pp

mp

ppp

» 97 profondo ed intenso ma non forte, mai rubato

2 &8

3 32 œ bœ œ #œ nœ nœ bœ œ #œ œ œ œ œ œ œ œ

® ®

5 4

nœ sffz

pp

mf

pp

oslighly distorted 99 ˙™ 5 4 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ o #˙

3:4 3:4 ppp

3:4

5 mp

5

3:4 ppp

O & B xxx


o 7 # œ ™ œ œ ™ 100 #œ ™ œ 4 5 9 & 8 nœ Bœ ™ œ œ ™ 8 #‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 32 œ#œnœ#œnœ#œnœnœ n‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ #œnœ#œnœ come prima

3:2

3:2 5:4

ppp

mf

ppp

ï ïïï -¯ _ï ppp ïï G

mp

mp

open slap + “pa”

» 102

9 & 32

® œ #œ nœ #œ nœ #œ nœ œ #œ nœ #œ nœ pp

mf

5 8

® œo

pp

sffz

#œ ™ 5 & 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ nœ b ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ b œ œ # œ n œ œ #5:4œ œ n œ # œ n œ # œ n œ n œ # œ n œ

103

5

5

5

p

mf

pp

f

z

104

≈™ ® &

n œ ææ ææ ææ ææ œæ# œææn œææ# œææ œ # œ œ # œ n œ œ # œ n œ nœ œ bœ# œ n œ # œ œ n œ œ b œ œnœnœ #œ œ#œnœ

#œnœ pp

o #œ ™ & #‚

mf

pp

f

ppp

105

œ ‚ n‚

‚ ‚

‚ ‚

growl

‚ ‚

‚ ‚

2 8 7 œ

‚ ‚

5 4 7 œ mf

3:2 5:4

ppp

3:2

5:4

ppp

mf

ppp

+ pa

o #˙

»o ord ˙™ 5 1 3 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 ≈ 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ nœ #œ

107

3:4

3:4 ppp

3:4

3:4

5

5

3:4

sffz

sffz

3:4

mp

ppp

+ pa z

109 6

3 &8

æ æ æ æ œæ# œæ# œæn œ œ #œ nœ #œ nœ #œ nœ œ #œ nœ #œ nœ #œ œ œ

5 æ æ 16 œ™ œ™

»o ~~~~~ Ÿ 3 ® ® 83 æ œ 32 œ #œ f

mp

f

p

O & B xxx

ppp

sffz


8

almost dist strettisimo, esuberante

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 j nœ 5 4 nœ 16 #œ ™ nœ

112

3 & 8 ≈ ™™ œ # œ bœ # œ n œ # œ #œ nœ nœ bœ pp

œ nœ nœ f

pp

ff

pp

oord 114 B ˙ ˙™ 5 3 & 4 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 8 ï ïïï_ ¯ # ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ _ï ïï 3:4 3:4 3:4 3:4 5 5 3:4 C# ppp

mp

ppp

almost dist

z strettisimo

115 subtone

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 j œ3 16 8 # œ # œ ™ æ æ æ æ æ æ # œ n œ ™™ œ # œ n œ #œ nœ #œ nœ nœ #œ nœ #œ nœ #œ œ œ œ #œ mp 6

3 &8

f sub

p

ff

pp

ord z #œ ™ 6 3 5 3 3 j æ & 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 16 æ™ 16 8 nœ œ œ œ œ œ œ œ#œnœ #œnœ#œ nœ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ#œnœ #œnœ ppp f

117

p mp sub

6

mf

pp

6

» #œ ™ 6 3 3 3 ™ ® ® & 8 b‚ ‚ ‚ ‚ 16 8 ‚ ‚ ‚ ‚ ‚ ‚ nœ #œ # œ œ b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ n œ œ #œ

120

6

3

mp sub

sffz

pp

mf

pp

(ord) half air #œ ™ 5 5 3 g4 3 5 3 # g g ® g g & 8 b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 16 n œ œ œ œ œ œ œ œ œ œ œ œ œ 16 4 ® #™ g f ppp b‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ6

122

f 5

p

6

pp

mf

ppp

(open slap)

F q = 60

» o

H

#œ ™ 4 & 4 Bœ ™

✶✶✶

125

H

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 3 4 #O ™ œ #œ ™ #œ ™

z

O

ææ nœ ™

3 16 ®

ppp

œ ppp

œ. mf ppp

ff ppp

ff ppp

✶✶✶ + voice O & B xxx

ff

sffz

3 8


9

e = 96

ord

128 subtone

z 6

3 &8

5

® r æ æ ™™ æ æ æ # œ æ œ #œ nœ #œ nœ #œ nœ œ # œ # œ œ #œ nœ #œ nœ #œ œ œ mp

Ϫ

nœ œ œ œ œ ppp

n œ-.

p

f

p mp

f sub

z

» air

sound

130 5

5

5

5

5

ææ ææ 5 5 3 3 ®‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ù # œ ™™ 16 œ œ ™ 16 8 Ù 16 ˜ œ ™™ œ f ppp p f p nœ . p sffz

ord

135

5 & 16 æ <˜> œæ

3 5 3 ææ 16 ® Ù œ ™™ 16 œ œ ™ 8 œ œ™ ppp f ppp œ-. p mp

f

5 3 16 8 œ œ ™™ œ œ ™ œ ppp

f

5 16 œ œ ™™ œ œ œ œ ™™

ppp

ppp

f

ppp

ppp

o »

ord

x 17 times

142

& œ ™ œ ™™ œj™

3 ææj 16 œ œ-. mp

f ppp

® ≈ ≈ ™™ ® ‰ ™™ 83 œ. œ.

®≈ ≈

∑ œ™ œ™ œ™ œ™ ppp

mp

ppp

mp sffz

+voice

150 beats

& Ϫ

ord

5 8 Ϫ

Ϫ

mp

Ϫ

j œ

Oœ ™™ Oœ ™™ œ™

ppp ppp

mp

ppp

Ϫ

Ϫ

mp

Ϫ

˙

4 4

ppp

156

4 & 4 b œO ppp

beats

ord

beats

œO

Oœ ™™

j œ O

mp

ppp

ord

œO

mp

pppp

ppp

beats

ord

œO ™™

Ϫ

mp

ppp

e = 112 x 9 times 160

& <#> œO ™ ™ mf

j œ ˙

‰ Ó

™™28

≈ ™ ™™ 83

≈™

Ϫ

pppp

O & B xxx

interpolate ad libitum between: ordinario slap open slap, open slap with "pa'' open slap with voice open slap with multiphonic

»

»

ord beats

# w~

œ.

œ.

sffz

sffz

4 4


10

- III poco meno mosso q = 60

fermatas: according to inhale's lenghts, durations are to be considered slightly exible exhale, no sound, z, much tongue over the reed (more distorted sound)

no mouthpiece

… … ≈ ≈ 2 4Ó 4 ææ Œ 4 g g g

164

≈ 4 &4 Ó

exhale, no sound, z

hold breath

4 4 ææ G

ææ G ppp

p

2≈ ≈ 4 4 4 g g

3 4 ææ …Œ G

ææ G

ppp p

mf

p

sonorous inhale

exhale no sound, z, much tongue over the reed (more distorted sound) bisb.

170

sonorous inhale, G then take the reed off exhale into the tube, + double z (both with tongue and throat) (attacca subito)

≈ ≈

… ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ … ≈ ≈ 4Œ ‰ æ 58 æ ‰ 42 4 æ æ g g g™ G

… 4 &4 Ó

…‰ 2 4

5 8 ææ _

ææ _™

g g

mf mf

f

ppp

mf

H sonorous inhale as long as possible exhale into the tube, + double z (both with tongue and throat) tongue ram exhale into the tube, + double z (both with tongue and throat)

176

… 4 & 4 Œ ææ f _™

… ∑

2 8

4 …Œ ‰ Œ 4 6

4 4

p

G

G

…Œ 2 ≈ ≈ 5 3 4 4 ææ 4 ææ g g _ f

f

exhale into the tube, + voice, + double z (both with tongue and throat), slap decresendo until all oxygen is out

tongue exhale into the tube, + double z (both with tongue and throat) ram

182

… ≈ 5 & 4 Œ ææ ~_

2 ≈ ≈ 4 …Œ 4 4 g g

‰ >f

‰ æ 6 æ f -

3 4 ææ _

…Œ

2≈ ≈ 7 4 8 g g

mf f

tongue ram

exhale into the tube, + double z (both with tongue and throat)

slap

187

… 7 &8 Œ

‰ 6

‰ >

≈ >

2≈ 4 g

3 4 ææ _™

5 8 g

50'' f

exhale into the tube, + double z (both with tongue and throat)

mouthpiece in

Kiss

190

… …Œ 4 ≈ 5 4 Œ ≈ ‰ ‰ K &8 4 -# - n - r ææ 4 -b-™™™ G

≈ G

U `

2≈ ≈ 4 4 4 g g

3 8

f

Jeu de « trompette » inside the tube, similar to whistletones's ute (long ca 50’, as long as much air as available. Keep variating sound, include multiphonics at the end when available) O & B xxx


11

- IV I e = 120

#‚ ‚ ‚ ‚ ‚ ‚

#-‚ -‚ ‚ ‚ ‚

#‚ ‚ ‚ ‚ ‚ ‚ ‚

196

3 &8

8 ≈ 16

8 8

≈Œ

Œ

Ó

3 5 pppp sempre

poco legato, sempre articolato e diafono (articulated sound with presence of air)

n‚ #‚ ‚ n‚ #‚ #‚

200

‚ & ‚ #‚ #‚ #‚

‚ ‚ n‚ ‚ #‚ ‚ ™ z n ‚ ‚ ‚‚ ‚ ææ #‚ ™

ord

®‰ Œ

Ó

n‚ ™ 7 3

6

z

n‚ ‚ #‚ ‚

202

#‚ ‚ #‚ & ‰

‚ #‚ #‚

ord

# ‚ ‚ #‚

n‚

‚ ‚ #‚

n‚

#‚ #‚ #‚

≈™ ‰ næ‚

#‚

5 5

ord vibr n ‚ # ‚ n‚ 203 #‚ ‚ n‚ # ‚ ‚ n‚ #‚#‚ #‚ 3 n ‚ n‚ ‚ #‚. ‚. 42 ‰ ™ n‚ ‚ ‰ ™ ‰ & ‚#‚#‚ ‚ 8 #‚ ææ -. -. # ‚ 7 z

6 6

J Ÿ-~~~~~~~~~ # œ ˙ #‚ ‚ ‚ #‚ ‚ ‚ ‚ #‚ ‚ ‚ ‚ ‚ ‚ #‚ ‚ µ‚ ‚ ‚ ‚ ‚ ord 206 6 ®‰ 13 ‰ 4 8 R5 ® 48 ® ≈‰ ≈‰ ™Œ 16 ≈Œ 43 &4 8 16 5 # œ. œ. œ œ. n œ. # œ. p ppp sffz .

n-‚ -‚ ‚ ‚ ‚ 211

3 &4 3

n œ. #™ œ. #œ. ® #œ. ≈ #œ ™ Œ Œ 10 ≈ 8 # œ. 6

ord

8 j 16 #œ œ #œ ™

3 ‰ 16

œ ppp

mf ppp

ff ppp

ff

ppp

ff

sffz

K

o » 214 6

7:4

ord

#‚ ‚ ™ 4 nœ. #œ œ œ #œ. nœ nœ 4œ . . œ. n œ. œ # œ. . # œ. . . . # œ. n œ. œ. # œ. ppp . œ. sffz 6

3 & 16

® ‰ œ. sffz

O & B xxx

Œ


12

7:4

n ‚ ‚ ord œ™ 6 6 J # œ & nœ. #œ#œ. œ nœ. # œ n œ n œ . . . œ. # œ œ. # œ. . # œ. œ. nœ. . . ppp mf . n œ. œ. sffz

articulated air

‚ ‚ ‚ ‚ ‚ ‚

216 ord

8 ≈ 16

ppp

special z

‚ ‚ ‚ ‚ ‚ ‚ ‚

ord

#‚ ‚ ‚ ‚ æ 4® ‰ æ #æ‚ ™ æ 4 æ œ. #œ. ppp5

218

# ‚ #‚

7

8 & 16

≈ Œ 5

‚™ æR ‚æ

‚ ®

æ #æ‚ æ æ

sffz

z

n‚ n‚ ‚ n ‚ # ‚ # ‚ n ‚ Ÿ~~~~~~~~ ‚ 220 # ‚ # ‚ # ‚ ‚ æR #‚ n‚ #‚ n‚#‚ . ‚. ‚#‚n‚#‚ n ‚ # ‚ # ‚ n ‚ # ‚ ≈Œ 44 # ‚ ‚ n ‚ j n ‚ & ‚ #‚ # ‚ # ‚ æ ‚ æ ‚æ æ æ n ‚ n‚ ‚ ææ æ æ æ æ æ æ æ æ æ æ æ æ #‚ #‚ 6 7 6 6 7

L (q = 60) H ✶✶

œ™ #œ ™

H ✶✶✶

#œ ™

222

Ÿ~~~~~~~~~~~~~~ #O ™ #œœ ™ #œ ™

✶ 4 & 4 Bœ ™

z

æ n œæ™

œ

j #œ

œ

ppp

nœ ppp

mf ppp

ff ppp

ff ppp

ppp

mf ppp

ff ppp

ff mf ppp

✶✶✶ + voice ✶✶ gradually augment the presence of harmonic overtones while increasing the dynamics pimp z

œ 3

3

225

‰ o

&

ord

#œ œ ™ ææJ ææ

z

n‚

Œ

Œ

Œ

≈ ææ #œ

J n˙

4 8

#‚ #œ

œ

o ppp

ppp

f

M (e = 120)

pp

f pp

f

ord

228 var 1

4 &8 ≈

‰ nœ pp

œ ff

pp

œ ff

pp

œ ff

pp

‰ œ

ff

ppp

ff

Ÿ~~~ var 1

z

230

#‚ ‚ ≈ #‚ ‚ #‚

&

air

#‚

≈™

#‚ #‚

æ ® ‰ n‚ ™

≈ g

#œ œ pp

œ ff

pp

pp

nœ ff

pp

pp

ff pp

O & B xxx

pp

ff

ff


13

N e = 150

outside jet air ✶

o» »o3

232 ord

b7 ™ >

&

var 1

3 8

j ™ >7

7

œ

b7

4≈ 8

œ #œ

œ

œ

pp pp

ff

≈ ≈

ff

œ

pp

ff

pp

ff

ff

✶ blow from the outside of mouthpiece while moving chromatically from given note to arrival note

ord var 1

235

& ‰

b-7 >

≈ ≈ œ

Œ

œ

pp

ff

≈ ≈

7

œ

ppp

ff ff

œ

pp

ff

œ

pp

ff

pp

ff

ord

238

& b-7 >

b-7 >

7

7 >-

Kyu ff

7 >-

-7 > tsch

koy ff

œ tsch ff

ff

-7 > tsch

œ

pp

ff

Kyu ff

ppp

ff

7 >-

->7

tsch ff

tsch ff

4 8

O e = 108 241

4 ≈ &8 7

slap variations pa

pe

pi

o O

o O

o O

œ

oord ‰

œ

o ≈

œ

œ

œ

ff

Sospeso q = 60

Ÿ~~ var 1

˙

˙

#‚ 44 #‚ n~

#~

243

#‚ ‚ ≈ #‚ ‚ &

#‚

≈™

#‚

3 4

#œ œ pp

ff

Ϫ

Ϫ

3 & 4 #O

#O ™

Ϫ

pp

ff pp

Ϫ

Ϫ

pp

Ϫ

245

#O ™ #O ™

3 16 # O #O ™ ™

∑ o

dynamics variation ad liib

O & B xxx

Berlin, 30 April 2016

œ



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